continued. . . 

Still, the execs eschew the notion that they’re a one-trick pony enterprise. Bylin doesn’t even like the suggestion. “We have a number of patterns that do well,” he asserts. “Royal Albert has a very definite niche because of its ornate, traditional, historic, and elaborate English craftsmanship and there’s an appreciation for that. There are many young people interested in history and tradition and we have a phenomenal heritage that’s relevant to them. I’d feel comfortable giving my daughter or daughter-in-law any of Royal Albert’s designs.”

Still, the seasoned Bylin is sage enough to know there’s no slam-dunk in tabletop. “Nothing’s easy in this business,” he agrees, “but we think this is worth the effort and our organization is prepared to make that effort.” Consolidations, closings, and competition have chopped away at many major dinnerware sources, Bylin cedes. “I just had a west coast trip that used to take three weeks,” he offers. “I was there for a few days. We’ve lost a lot of department stores and the ones left can be understaffed and overwhelmed. Because personnel may not be able to do the job it’s incumbent on us to justify our existence and get more floor space.”

An eight-point marketing plan is meant to chisel space and yield sales. The plan worked so well for Royal Doulton (consider that 50% sales increase) that the blueprint has been effected for Royal Albert. The plan starts with brainstorming a concept (in this case 100 Years of Royal Albert) backed by market research. Next up is design, product development, sourcing (in England or Indonesia), and manufacture. Warehousing and distribution follow and then the collection is marketed with a robust advertising campaign. (The off-record ad amount has been well north of $1 million for all Royal Doulton brands.) “I’m a firm believer that if you don’t know where you’re going you’ll never get anywhere,” Bylin espouses. “That’s why we do strategic planning, one step logically leading to the next. It’s essential so that when you arrive in the market you’re relevant.”

Relevant. The not-so-secret word that’s the impetus behind 100 Years of Royal Albert. “Royal Albert’s business has doubled since we got here,” Marton observes. “We know there’s a customer for our product and when we got chills walking through the archive on a recent visit, it was clear we needed to do something to celebrate this century of wonderful design.” Prospective patterns were drawn from musty leather-bound books. “It was like looking through a family album,” Marton shares. “There were thousands of beautiful designs and we chose ten which were indicative of each decade of Royal Albert’s history.”

For 1900, Regency Blue’s rich hues and gold accents signaled the end of Victorian times. Duchess is 1910’s contribution using the company’s signature roses against a black palette. The delightful Spring Meadow typifies the 1920’s post-war ebullience and the emergence of a more positive era. The 1930’s brought Polka Rose whose fresh apple green background and a single rose are reflective of the art deco period. From the 1940’s is English Chintz, roses and forget-me-nots against a crackle background and lush gold trim. When Elizabeth II assumed the throne in a post-World War II 1952, a rebirth was afoot leading to the appropriately-named Festival, blue harebells against a beautiful blue/green border (and Bylin’s favorite.) Britain moved into the swinging ’60s and Golden Roses’ almost modish pink background offsets opulent gold roses. Representing the 1970s is the coral, yellow, and gold Poppy, evocative of the decade’s flower power. The wealth and entrepreneurship of the ’80s are typified in Holyrood with a simple burgundy band and gold frieze work. Lastly, swirling lilacs against a purple background, Hartington Lane bears homage to the 1990s, combining two Royal Albert designs of the decade: Lilac Lane and Hartington.
Hatbox-styled packaging is skewed to each decade with stories of each on the box. “I wouldn’t be surprised if our customers bought all ten and used them, not just stuck them in a curio cabinet,” Bylin delights. “These designs are a return to luxury at very good price points.” The 100 Years of Royal Albert program has a simultaneous global roll out; Royal Albert distributes to 53 countries. “The beauty of this program is that it works anywhere around the world,” Marton suggests. The program starts shipping the first of the year.

Bylin and his team aren’t daunted by the herculean task ahead. “It’s a step at a time, a day at a time,” Bylin points out. “We know we have a wonderful brand. Royal Albert is quintessential English craftsmanship and for that there’s always a market.”